Metal Circus [EP]

Editorial Reviews
Amazon.com
This is the album on which the monster that was Hüsker Dü truly came alive. From here on out, this Minneapolis trio would define new directions and open new vistas for rock music with every release. Bob Mould's spectacularly demented lead work and furious vocal delivery are driven to a frenzied pace by drummer Grant Hart and bassist Greg Norton. At times, as on the incredible opener, "Real World," the naked aggression and speed is hard to withstand. "It's Not Funny Anymore" is a great anthem, striking a blow against conformity and hinting at the pop territory the band would go on to explore more fully on future outings. "Diane," with Hart on lead vocal, is a ballad of sorts--and probably one of the most horrifying in the history of rock. --Mike Corrigan --This text refers to the Audio CD edition.

Average customer rating:

AWESOMENESS!

...And the Circus Leaves Town

A unique gem

Kyuss Say Goodbye With A Monumental Classic

Start off with This Kyuss Album, then.....

...And the Circus Leaves Town
Kyuss
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Welcome to Sky Valley

Blues for the Red Sun

Wretch

Muchas Gracias: The Best of Kyuss

Desert Sessions Volume 7 & 8

ASIN: B000002HJA
Release Date: 1995-07-11

Tracks:

Hurricane
One Inch Man
Thee Ol' Boozeroony
Gloria Lewis
Phototropic
El Rodeo
Jombo Blimp Jumbo
Tangy Zizzle
Size Queen
Catamaran
Spaceship Landing

Customer Reviews:

AWESOMENESS!.......2006-11-10

This CD was the best album I bought in a long time and I am so glad I did. Every song on this is great and in my book is a work of art! I am actually listening to Phototropic from this very CD and will have it stuck in my head the rest of the day. If you like guitar riffs and melodies that will be stuck in your very soul for days on end, this is the CD for you!

...And the Circus Leaves Town.......2006-11-08

This is a must have. Anyone who enjoys rock is going to love this album. Here is the first album that encompasses it all - awesome jamsongs, heavy rockers, mellodic tunes, songs that bounce & bop, EVERYTHING rock. Did I mention that there's a ton of profanity?

Kyuss was completely unique. There was never and will never be another Kyuss. Queens of the Stone Age are good, but Kyuss was great. Fu Manchu is probably the closest band to Kyuss that I can think of; they still have there own thing, though.(They've had some of Kyuss' ex-members, too)

So, about the album.

'Hurricane' starts the album off with a punch, sockin' it to ya. I could just imagine the crowd going wild. Opening with a cymbal crash into a drumstart, the pace quickens, guitars sweep you away into a sea of distortion, you're hooked.

'One Inch Man' has this trippy/hypnotic start that then builds into a grungy, heavy chorus, once again featuring the overblown guitar sound. For some reason it seems like the song's speeding up as it goes along. Aural illusion, I guess.

'The Ol Boozeroony' takes you on a sonic adventure that only Kyuss could have planned. There's an almost middle eastern guitar sound, which is once again hypnotic.

'Gloria Lewis' starts like an 'Imperial March'. Just turn your speakers up and let them knock stuff over. There's a slow fade at the end.

'Phototropic' - almost an instrumental, my favorite track by Kyuss, not just my favorite on the album. Starting slowly with guitar only, the drums and bass come in and bam, you're moving. Turn off the lights and crank this one way up. You WILL actually start feeling euphoric while listening to 'Phototropic'. This is probably THE reason you need to buy this album.

'El Rodeo' - Here's what I meant about the bounce. There's a resemblance to 'Money' by Pink Floyd for the first two minutes. Picture the opening bassline, but with a mid-eastern inspired guitar phrase. When the lyrics hit the similarities to 'Money' are gone, but they're not trying to be Floyd, it's just my comparison to give you an idea of the sound.

'Jumbo Blimp Jumbo' seems to have this Hendrix inspired guitar lick to it. Almost 'Voodoo Chile'-esque. This one picks up some speed about halfway through. Maybe another sonic illusion.

'Tangy Zizzle' - I just love the name of this song. I don't know why. Great song, sound, etc. Anti-establishment, anti-conformity, rocker.

'Size Queen' - Sonically amazing, this song has swagger to it. No shenanigans here.

'Catamaran' - My other Kyuss favorite. Catamarans are double-hulled boats. You get the feeling of drifting along a lake. This song by itself is a good enough reason to buy the album.

'Spaceship Landing' is not the last song on the album, but let's talk about it. At eleven minutes, it's an epic. You'll never even notice the time, either. 'Spaceship Landing' goes through a few changes of pace and you'll be there for all of them.

You might wonder what I mean about it not being the last song, but 'Spaceship Landing' is on the eleventh and final track. At 11:15 the song ends, but the track keeps going. So, at about 14:48 there's a thirty second thing that I don't even know what to call. (It's not a song, but just someone messing around with vocals.) However at 32:14 into the track you get a "hidden song", 'Day One'.

"...And the Circus Leaves Town" is the best Kyuss album. Songwise, "Wretch" is the next best. Wretch offers you some great tracks like 'Son of a Bitch' and 'Big Bikes'. Sonically it does suffer from the early-album syndrome, but honestly it just has a more raw feel. With such a short catalog I'd say just get all four studio albums from Kyuss.

Enjoy.

A unique gem.......2006-09-22

I loved "Blues for the Red Sun" and "Welcome to Sky Valley." While "...And the Circus Leaves Town" did not immediately strike me as a great album, it slowly grew on me through repeated listens and, over time, it has racked up more plays on my i-pod than either of those albums. Over two years later, I still find myself appreciating it in new ways.

It is initially difficult to appreciate Circus because it doesn't really sound like a Kyuss album in several respects. In place of sprawling, "Freedom Run" style epics, Circus is basically a collection of medium length grooves. Even the 11 minute album closer plays more like a medley of short riff jams than a through composed epic. Meanwhile, the band's trademark organic guitar voices are replaced with a thick, beefy growl that foreshadows the early QOTSA "robot rock" sound. On the vocals, John Garcia sings as much as he snarls. And his lyrics eschew the awesome ego tripping bombast of Gardenia and Green Machine for something a lot moodier and more complex. Taken together, these changes create an overall feel that is very different from both earlier Kyuss albums and the early QOTSA output that followed.

The basic idea of "Circus," as I interpret it, is that Kyuss puts away the bag of tricks they could have easily used over and over again (I think that is what is meant by "the Circus") and engages the listener on a much humbler level. There is still considerable grandeur in this album, but it is not a grandeur that says "I am great." It is the grandeur of being small and human, doubting oneself and marveling at the greatness around oneself. In the Yawning Man cover Catamaran, John Garcia sings "smooth stones behind me / cold air surrounds / soft and savory / it can take you to God." I think that about sums it up.

Kyuss Say Goodbye With A Monumental Classic.......2006-05-31

This album completes the legendary trilogy alongside the other classics 'Welcome to Sky Valley' and 'Blues For the Red Sun'. With this album, their last full length, Kyuss alter their sound and style slightly, creating a deeper and lower guitar tone and generally slower tempos. The result is a huge moody monolith of an album that sweeps aside thousands of other 'stoner' bands. '...And The Circus Leaves Town' is a fine way for Kyuss to wave goodbye after a truly legendary and tragically short-lived career.

'Hurricane' boots things off in short and sweet rocking style. It's a fun rocker, but a rather mediocre start to the album when considering the immediately engulfing openers from their past albums. But this I found would be the style of the album, it is a slow burner, gradually progressing and weaving. 'One Inch Man' is another short and sharp track, but this time the band creates a more subtle and sophisticated song. Homme's guitar paying especially shines on this with some very cool and almost psychedelic guitar effects, complemented by the classic John Garcia raspy vocal delivery. Generally John's vocals are less in the mix with this album when compared to previous releases, taking a seat behind Homme's guitar playing, which is at its all time best.

The album really picks up when 'Phototropic' begins. This song shows a new side to Kyuss - a moodier, more melancholic sound with a slow, brooding build up leading to the desperate croons of John singing 'under light I have never seen/reach up to the sun'. 'El Rodeo' continues the moodier, atmospheric style, once again building to huge walls of sound and John's emotionally packed vocals. Often seen as a two-song piece, it remains a highlight of Kyuss' career.

'Tangy Tizzle' starts the closing of the album. It is the best closing in Kyuss' career, and simply one of the best in metal and rock history. Personally I feel the last four tracks on this album create the pinnacle to Kyuss' short-lived career. After the heavy and fun rocker of 'Tangy Tizzle', something more similar to 'Blues For The red Sun' style, 'Size Queen' delivers one of Kyuss' best songs. Striking me as a combination of the 'Sky Valley' structure of verse/chorus (something the band generally get away from on this album, most of the songs just flow into different sections), and the newer moody, brooding guitar tone this album introduces.

Then 'Catamaran' hits the listener with its sheer beauty. Calming yet highly melancholic, it makes for great reflective listening, recalling all sorts of feelings depending on your mood - sometimes it feels very lonely and vast, sometimes it's a cool summers breeze with a refreshing 'cool air'. Whatever it evokes, it is a masterpiece of simplicity. 'Spaceship Landing' comes crashing in with its bellowing drums and dirty sounding guitars. Starting off like a straight-forward heavy rocker with angst-ridden lyrics about insecurity and drunkenness, the band then display their talents and exactly why they are the kings of the genre. A simply gigantic riff comes in, slowing the song down to a menacing, brutal pace. One of Homme's best riffs ever, and he knows it, he carries on, each bar like a sweeping body blow. Then once again the band change direction, a new riff is introduced, and again it's slow and powerful. And again...AGAIN they change things up; this time it's a psychedelic section full of dreamy vocals from John and slow, threatening build-up work. Then bang, back to the initial monster of a riff, putting a huge smile on my face and a wave of excitement and adrenaline every time. This song is such a tribute to the band's talents. Their ability to create simply amazing riffs and melodies - sharp direction changes - complex structures...all in one epic track. I cannot praise this closer enough.

Quite simply this is one of the best metal albums you will ever hear. I find it amazing some people call this their worst effort, or even a 'boring' album. The quality of musicianship is unbelievable, making other `stoner' rip-offs look like dummies.

Start off with This Kyuss Album, then............2006-04-28

Start off with This Kyuss Album, then go to the others, because if you like this one, you will really enjoy the other albums so much more. I usually try to encourage new listeners to pick up the weakest effort (which would be this one) from a band that they arent familer with, because if you can dig an album that is only average, then you will really appricate the band more. Kyuss is a must for "Stoner" metal and rock fans, and even though "and the circus left town" is only slighty above average (OK, I will give it 3 1/2 Stars) the other albums are much stronger..ENJOY

Average customer rating:

Best Prog album I've heard in awhile
Not a Dream Theater Knock-Off
Holy ####!
Does the words "Blown Away" even give this any justice???
Great sounds, great debut!

The 1st Chapter
Circus Maximus
Manufacturer: Sensory Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009ML238
Release Date: 2005-06-07

Tracks:

Sin
Alive
Glory of the Empire
Biosfear
Silence from Angels Above
Why Am I Here
Prophecy
1st Chapter
Imperial Destruction

Customer Reviews:

Best Prog album I've heard in awhile.......2007-04-17

I really like this CD. All of the songs are accessible, technical yet without being overly pretentious and shredding for shredding's sake (like some of the later DT, mainly Octavarium and TOT).
There are hints of DT, Symphony X, and Ayreon, but it is not derivative but surprisingly fresh.

Not a Dream Theater Knock-Off.......2007-04-08

First of all, if you are wondering if this is some reunion or retrospective on the 60s folk-art band, Circus Maximus, the answer is no. But read on anyway.

Second, if you've read most of the other reviews, there would certainly seem to be almost nothing but good things said by people, so why add another review? Because one reviewer observes that Circus Maximus are nothing more than a dated Dream Theater knock-off, and that if you already own "Images and Words" then you will have no need for this disc. And while it is almost certainly the case that this disc would appeal to Dream Theater fans, it does in fact have more to offer than just that.

Two basic points first. Simply by coming 13 years after "Images and Words," one could say that Circus Maximus take their inspiration there, rather than that they are derivative. Amongst blues guitarists, it is no crime to sound like your forebears. The same, then, may also be said for the instrumentation and some of the sound of the disc. However, it may not be correct to cite Dream Theater as the most likely "sounds-like" band; for that, Everon seems a better choice. And lastly, the most important difference is that Circus Maximus hail from Norway, that wellspring of modern metal that has birthed everything from Mayhem and Satyricon to Dimmu Borgir. However "dreamified" their sound might be, there is still a Norwegian backdrop of sheer metal mania in it that Dream Theater has not ever boasted of. As such, this album might be too "metal" for some Dream Theater fans.

"Sin," the disc's opener at 5'53", kicks things off in grand no-nonsense style right off the bat. I don't want this review merely to be a song-by-song comparison of this and "Images and Words" but at a bare minimum, the sound here is bigger, and the riffs are very much more Nordic than Dream Theater's. Different strokes for different folks, of course, but there /is/ a difference here. In fact, until the vocals kick in, it seems unlikely that Dream Theater comparisons would occur at all. Once they do, however, the difference will again be noted as pointed out by another reviewer: the lyrics describe a murder from five points of view. Also, the song's break in particular veers into an area of greater sheer intensity than almost anything in the Dream Theateresque genre; if there is a fault to be found here, it is in the band not stretching this section out more

"Alive," at 5'38", is more recognizable from the very beginning as Dream Theater, but considerably heavier. In fact, the whole song up to the finale is a rather heady mishmash of different kinds of metal gestures, including (very amped up) 80s hair metal, and even Pantera's "Cemetery Gates" (for about 2 seconds). To the extent that originality frequently consists of different structural combinations of existing styles, the way this song makes it way through these gestures is fairly interesting. But it's at the finale, "Together we will make it through alive," that the song really jumps out of the speakers. The vocalist's high, sustained note plays against a suddenly rather jagged, Gothic riff, which somehow throws everything that went before in the song into a strange, or unsettling light.

"Glory of the Empire," at 10'27", is the second-longest song, and might seem strange subject for a metal band outside of England, except that the lyrics merely recount a warrior-type's realization that he has contributed to an unjust cause, an empire "built by the hands of slaves to fulfill the master's will". Although the song is not terribly captivating up to its bridge, it manages to get through 5'30" rather quickly. Around 6 minutes, the music becomes more lush, and a piano and vocal bit provides a welcome relief from the somewhat trudging first half. This bridge becomes properly vast, melodic, with a slightly mis-mixed piano and guitar duo before the guitar-bridge itself. The vocals return, with a decidedly more martial stomp to the music, and the piece begins to make its way to the end conventionally. If nothing else, this song does not seem to drag despite its length.

"Biosfear," at 5'22", is the album's only instrumental. Once again, it kicks off with a riff that will remind one of Dream Theater (primarily due to the guitar tone, and guitar-keyboard interplay), but this lasts only 41 seconds, before launching into a progressively slowing set of three riffs (the first a series of linear variations, the second a satisfying bunch of varying time signature licks, and then an octave growling thing). After that, it gets more complicated , including an adorable jangly keyboard section, banged out of the park by heavy swinging thing with two of the best placed power chords ever I'd venture, followed by the obligatory extended guitar showpiece. The piece ends first with the usual arpeggiated finger riffs on guitar and base, followed by full-band workout--and while one can mentally connect this back to Dream Theater, if you weren't predisposed to do so, you wouldn't. In all, a crazy little tour de force which has great relistenability, unlike many similar types of pieces.

"Silence from Angels Above," at 4'07", is the album's ballad, including falling rain (to match the lyrics) and a somewhat ill-advised keyboard wash. This certainly is not the band's strong center, and the piece is content to stay in acoustic guitar mode the whole time. Despite its comparative innocuousness and blandness, the song is again about making a decisive choice, which figured prominently in the song "Sin". Thus, there is a certain poignancy in the silence of the angels above once again, though whether or not this can spare the song from being programmed out is probably a matter of taste.

"Why am I Here," at 6'05", wastes no time dispelling the mood of the last song. And if there is one song on the album that shows why this supposedly Dream Theateresque band is not, this is it, if only because of the much more self-evident metal sensibility it exhibits, while still remaining melodic prog metal. Off-hand, I'm not sure I could ever quite imagine myself headbanging at a Dream Theater concert. If I saw this song live, I would.

"The Prophecy," at 6'44", is the album's minor epic. Whether or not it succeeds may largely depend on how well you take the quasi-acoustic and "soulful" opening 2'30". Once it gets going, it kicks around ably enough, even as the chorus falls squarely into pure pop, and the return to the chorus after the bridge seems to be almost badly spliced.

"The 1st Chapter," at 19'07", is the album's official epic. It gets things going with a martial keyboard stomp, giant theatrical chords, and full orchestral pomp for exactly 2 minutes, followed by a second 2 minutes of high energy Nordic metal and keyboards leading up to the vocals, and another tale of a young man going astray. While the structure at this point becomes a conventional verse-chorus, the chorus itself is very nicely crunchy. More Nordic metal then heralds the fall of our hero, but instead of spiraling into musical doom, it switches to grand, epic chords, as the hero realizes he is being chosen for a particular destiny. More martial crunching then, and the "keyboard no-no" another reviewer mentioned (bad patch choice). A piano-vocals section follows, as a prelude to the considerably extended sectional journey of hero's battle with darkness, ending on the expected big chord, that then lingers, and lingers as a cloudy, airy howl. Enter the calliope music (no really), pitched shifted and all to make it "creepy". The saving grace here is the still-lingering airy chord, that sonically does things to the otherwise inexplicable circus music (sure, sure, Circus Maximus).

"Imperial Destruction," at 6'30", dispels any possible kitsch from the end of the last song with one of the best riffs on the album, and then drops into another vast-sounding verse-chorus structure, including the usual keyboard and guitar break. This far into the disc, so much of their usual good thing becomes almost wearing--something that definitely is (again) reminiscent of Everon.

Supposedly, the keyboardist has left the band. I suspect this will prove to be a blessing on Circus Maximus' sophomore effort. In the first half of the disc, the keyboards are just fine, but they seem to run out of steam later on. Similarly, the basic intensity of the album is fairly unrelenting, again belying its metal roots. As a debut, one can chalk this up to over enthusiasm, and the necessity of filling 70 minutes on a disc, but all told, it is hard not to be enthralled by this disc, if not always all the way through. By no means a perfect disc, nevertheless hopefully it is clear now that calling Circus Maximum a Dream Theater knock-off is beside the point.

Holy ####!.......2007-02-18

I've also never heard of these guys until my friend put this cd in my hand...I am completely blown away. not since Symphony X's "The Divine Wings of Tragedy" have I experienced such a fantastic album. And this is only a debut??? These guys are gona go really far in the progmetal world. You owe it to yourself to pick up this album. Can't wait for the new one, hopefully out this summer!!

Does the words "Blown Away" even give this any justice???.......2006-07-05

WOW! Thats all I can say. I had never heard anything from Circus Maximus before, nothing. Decided to pick up this album after hearing there names come up a lot on the PAGAN'S MIND forums. I popped this disc in, and immediatly the galloping, deep, death metalish sound of Sin kicked me in the chest. I was thinking... "This isn't prog this is Death Metal!" then, the keyboards and odd time signatures kicked in. I knew the music was awesome, but I was just waiting for the vocals. Prog vocals ethier make or break a band, and then a new age Geddy Lee style sound came thrashing in. I knew from this moment this band was AWESOME! A great mix of Dream Theater, Symphony X, Pagan's Mind, and Queensryche this band is amazing.

Great sounds, great debut!.......2006-06-19

When I put this CD into my player, I heard influences from a number of bands: Dream Theater, Symphony X, Divine Regale, etc. In fact I found myself comparing band member names from Circus Maximus and Divine Regale because the singers sound so much alike. None of the names were the same, just a lot of similarities between the two bands. It takes a lot of chops to come close to bands like these and Circus Maximus does it with ease.

The singer's voice is clean in all ranges, the guitar playing is impecable, the keyboarding is all over the place--bringing great flavor and atmosphere to each song, the drumming and bass playing are tight. What else can you say?

If this is the baseline from this band, I can't wait to see where they go from here. When their songwriting and album concepts begin taking more shape and form this band's success will be unstoppable.

Inside Electric Circus: The Headless Children

Average customer rating:

The reasOn..
fine metal for a bargain price

Inside Electric Circus: The Headless Children
Wasp
Manufacturer: Recall Records UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B000086EPF
Release Date: 2004-03-09

Tracks:

The Big Welcome
Inside The Electric Circus
I Dont Need No Doctor
95 N A S T Y
Restless Gypsy
Shoot From The Hip
Im Alive
Easy Living
Sweet Cheetah
Mantronic
King Of Sodom And Gomorrah
The Rock Rolls On
Flesh And Fire
D B Blues
The Heretic (The Lost Child)
The Real Me
The Headless Children
Thunderhead
Mean Man
The Neutron Bomber
Mephisto Waltz
Forever Free
Maneater
Rebel In The FDG
Locomotive Breath
For Whom The Bell Tolls
Lake Of Fools
War Cry
L O V E Machine (Live)
Blind In Texas (Live)

Product Description

Disc 1: Inside The Electric Circus:
1. The Big Welcome
2. Inside The Electric Circus
3. I Don't Need No Doctor
4. 95 - N.A.S.T.Y.
5. Restless Gyspy
6. Shoot From The Hip
7. I'm Alive
8. Easy Living
9. Sweet Cheetah
10. Mantronic
11. King Of Sodom And Gomorrah
12. The Rock Rolls On
13. Flesh And Fire
14. D.B.Blues

Disc 2: The Headless Children:
1. The Heretic (The Lost Child)
2. The Real Me
3. The Headless Children
4. Thunderhead
5. Mean Man
6. The Neutron Bomber
7. Mephisto Waltz
8. Forever Free
9. Maneater
10. Rebel In The F.D.G.
11. Locomotive Breath
12. For Whom The Bell Tolls
13. Lake Of Fools
14. War Cry
15. L.O.V.E. Machine (Live 89)
16. Blind In Texas (Live 89)

Format: CD

Customer Reviews:

The reasOn.........2007-07-09

I'm writing a review of this cd and not the release of "Inside The Electric CircUs" without "The Headless Children" is the economic value of purchasing both albums at once.SOngs such as "Mantronic" lead you into the Sci Fi world of Blackie and Co.."Restless Gypsy"'s a wilD time..Sexy ("95 Nasty"'S a shout out to woman if yOu ask me..)Sexy cd,original solos and chord combinAtions (No McDonalds "Combo meal" i.e routine daily arrangements here..)Beautiful acoustic mixed with electric guitArs..BoB Saget left me as My Amazon fRiend,I want him back..So Anyways,Blackie and company do a fine job there.I guess I'll mention "The Headless Children" as well,although "The Electric Circus"'s enough to base a five star rating on.I enjoyed that album also.I recall it had more of a classic rock feel to it.Really..The "Electric Circus" cassette is what I base the reviews rAtings on.

fine metal for a bargain price.......2006-06-20

The price of this collection is excellent for two above-average metal albums. And one must remember that the music itself is the real value here, because the collection's packaging is ugly, the original albums' artwork is poorly represented, and the few lines of notes (brief description of Blackie's career and the band's fortunes through the eighties) are unsatisfying. The comments particularly on the two albums here (Inside the Electric Circus and The Headless Children) are misleading, apparently written by someone who did not actually listen to the albums.

The music itself, though, is another story. Inside the Electric Circus, W.A.S.P.'s third album, remains a mild disappointment after the excellence of the first two (W.A.S.P. and The Last Command), but it nonetheless bears repeated listening and holds up better, twenty-plus years after its initial release, than most of the other metal released at that same time. Generally, the songs are a bit shallow, and the hooks aren't as catchy as those on W.A.S.P.'s first two efforts, but it still rocks, and occasionally (for example, on "Restless Gypsy") the album brings the same kind of shivers as those inspired by earlier songs like "The Last Command" or "L.O.V.E. Machine."

The Headless Children, on the other hand, represents a long musical stride forward for Blackie and the band. In emotional tone and musical form, it builds on the foundation formed by earlier successes such as "Sleeping in the Fire" and "Widowmaker" and is easily the most lyrically mature and musically ambitious album that W.A.S.P. had produced to that point. Stressing politics and emotions over sex, and frequently eschewing the standard binary song structure in favor of more complex arrangements, The Headless Children is the rarest of metal beasts: the heavy, head-banging album that actually has things to say *without* becoming pretentious, boring, or preachy.

Short answer: This is a damned fine collection.

Average customer rating:

This Album is Incredible!
Not TOOL but still kick ass
The Power of PIGMY LOVE CIRCUS
Twisted, funny, heavy, dark and inspired.
Pigmy Love Circus

The Power of Beef
Pigmy Love Circus
Manufacturer: Go Kart
ProductGroup: Music
Binding: Audio CD

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Replicants

ASIN: B00025ETLY
Release Date: 2004-06-08

Tracks:

Livin' Like Shit
Drug Run to Fontana
Swamp Creature
Bone Orchard
Pistolero Sleep
Bad Luck
Murderer
Highway Man
Headless Horseman
12 Guage Kiss
Madhouse Clown

Product Description

1. Livin' Like Shit
2. Drug Run to Fontana
3. Swamp Creature
4. Bone Orchard
5. Pistolero Sleep
6. Bad Luck
7. Murderer
8. Highway Man
9. Headless Horseman
10. 12 Guage Kiss
11. Madhouse Clown

Format: CD

Customer Reviews:

This Album is Incredible!.......2007-04-27

Yes, I stumbled upon this CD because of a link at Tool. But so what. God I love this album and I'm so glad I found it. Only wish they were still putting out more of these. This album is pure testosterone and I can't get enough of it! I'm going to be playing the hell out of this CD!!
Mike Savage's voice is so deep, throaty and hot. This CD and Clutch CD's are some of my new favorites! You will not be disappointed in this one!

Not TOOL but still kick ass.......2006-10-27

I think TOOL is the best band ever and when I went to there site I saw PLC. these guys don't sound a thing like Tool (exept for the drumming) but it still is very good

If U liked my review CLICK YES!!!!

The Power of PIGMY LOVE CIRCUS.......2005-10-20

PIGMY LOVE CIRCUS - The Power of Beef
-
"Kevin H. Dudley" review is damn near spot on. Really not much else I can add. It is a Raunchy, Dirty, Despicable CD and I love it.
Favorite Songs: Drug Run to Fontana, Pistolero Sleep, and Headless Horseman
-4 STARS

P.S. Just because Daney Carey is in this band it doesn't mean all Tool fans will like it. This is much more drastic difference than Tool to APC. Proceed with caution!!!
Actually, Screw Caution! This CD Rocks!

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Twisted, funny, heavy, dark and inspired........2005-10-12

Pigmy Love Circus is easily one of the best bands that more than likely most people have never heard of.

PYC (as I'll refer to them from here on out) have actually been around since 1987. Based out of Southern California, they became something of a cult favorite on the live circuit due to some infamous out-of-control performances in addition to some very twisted (and funny songs).

In 1992, they replaced drummers with a certain Danny Carie (though he goes by Dan on this PYC CD) . Most people probably know him from his drum duties in a little band called Tool. He played with PYC for a little while but Tool ended up getting signed and pretty much exploding popularity wise so Danny's tenure in the band was cut short. PYC ended up disbanding in 1995 after slogging it out in bars and clubs for about 8 years straight.

But in 1999, Danny Carey ended up getting PYC to re-form and they started touring again opening up for the likes of bands like A Perfect Circle (fronted by Tool's singer Maynard). In 2003, they would record a batch of songs that would end up getting released in 2004 as the CD entitled curiously enough The Power of Beef.

The lineup on the album consists of:
Michael Savage---------vocals
Peter Fletcher---------guitars
E. Shepherd Stevenson--bass
Dan Carey--------------drums, saxophone

The first 3 members are all original members who have been with PYC since the beginning.

The track listing on the CD is as follows (with the CD being a little over 42 minutes in length):
1) Livin' Like Sh*t
2) Drug Run to Fontana
3) Swamp Creature
4) Bone Orchard
5) Pistolero Sleep
6) Bad Luck
7) Murderer
8) Highway Man
9) Headless Horseman
10)12 Gauge Kiss
11)Madhouse Clown
------------------------------------------------------------

To try and describe PYC's sound is a bit hard. If you're familiar with the style of the band Clutch, PYC is kind of in the same vein to a certain extent, though PYC is more talented, versatile and varied than Clutch is.

Michael Savage's vocal style is also reminiscent of the singer from Clutch but Michael has a much more aggressive style. At some points he seems to recall Phil's vocal style from the metal band Pantera while at other times he seems to sound kind of like what Billy Gibbons from ZZ Top would sound like if he was a psychotic mass murderer. Add a little bit of Lemmy from Motorhead for extra spice. His lyrics are extremely twisted & violent and run the gamut from a guy talking about killing people indiscriminantly, being a lazy drunk bastard, killing his cheating girlfriend, making illegal drug runs and the headless horseman just to name a few.

The lyrics are pretty extreme stuff and will likely turn a lot of unsuspecting people off. But as twisted and questionable as some of the lyrics are, they are done more in the manner of him inhabiting a character of some sort and talking from that person's point-of-view. They are also really tongue in cheek most of the time, especially if you have an extremely dark and twisted sense of humor (like me!).

The music itself is kind of loud classic rock fused with metal and a touch of punk & blues as well. But the music doesn't sound dated and instead takes a lot of rock conventions and turns them on their collective heads. The music is loud and would feel right at home in a biker bar with a bunch of drunk bikers singing along while occasionally puking and beating the crap out of each other.

The musicianship is top notch and it's really cool to hear Danny Carey just rocking out on the drums. The music of his main bread and butter gig Tool is extremely complex and dense. The music of PYC on the other hand is just loud, fun and extremely dark hard rock that is just hard not to get into. Fletcher's guitar hits you like a ton of bricks and Stevenson's bass rumbles with one of the better bass tones that I've heard lately in hard rock.

The production is crystal clear as Danny Carey clearly used his clout from Tool to get them some great production quality that is one of the clearest and best sounding CD's that I've heard in recent times.

Some personal favorite songs include the driving Dry Run to Fontana which is a vocal tour-de-force for Michael Savage. Swamp Creature features lyrics inspired by old 50's B-movies like Creature from the Black Lagoon. 12 Gauge Kiss is about a questionable guy blowing away his girlfriend with a shotgun. and the last track Madhouse Clown features a really catchy and infectious sing along chorus that would fit right at home in any bar during last call.

I would've liked to be able to give more in depth descriptions of all of the tracks, but like I mentioned earlier, this is a really difficult CD to try to describe to someone.

If you are into bands like Clutch, Queens of the Stone Age, Monster Magnet and Kyuss along with the more extreme vocals stylings of bands like Pantera, you'll love PYC.

The CD might initially make you think it's going to be just another retro southern rock hard rock band, but by the time the vocals have kicked in and you've then gotten to track #2, you'll realize that you're listening to one of the most innovative, original and just plain cool CD's to come out in 2004 so far. This CD has been pretty much stuck in my CD player since I picked it up.

I'm sure that a lot of Tool fans will pick up this CD just because of the Danny Carey connection, but let me emphasize that PYC is about as far on the opposite side of the musical spectrum from Tool that it isn't funny. But it's just so refreshing to hear Danny just rocking out without any pretentious/progressive arrangements to get in his way. You can tell that these guy's are having a blast doing what they do and that's what truly counts!

Pigmy Love Circus.......2005-08-17

If you're interested in buying this CD just because of the Danny Carey connection, then it is a big waste of time. However if you're interested in buying this CD because you want to hear some devilish, and at times, disturbingly funny good ol' hard rock, then it could be worth your while. The lyrics and stinging style, for some reason remind me of GWAR, or perhaps Green Jelly, which is always a plus. Even so, the album isn't all that wonderful, though it has a couple of moments, notably the first song. Danny's drumming is hardly even distinguished, but if you listen closely, you can hear the drumming similarities between this band and Tool. But, keep in mind, that the bands are very different.

Average customer rating:

we all know opeth is kinda silly...
Shatters Barriers Like None Other
Cashing in on the Opeth sound
Pretty Awesome
Maybe I am getting weak in my aging but....

The Silent Circus
Between the Buried and Me
Manufacturer: Victory Records
ProductGroup: Music
Binding: Audio CD

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Alaska
Between The Buried and Me
The Anatomy Of
Clients
Fused Together in Revolving Doors

ASIN: B0000C446W
Release Date: 2003-10-21

Tracks:

Lost Perfection
Coulrophobia/Anabelphobia
Camilla Rhodes
Mordecai
Reacation
(Shevanel Take 2)
Ad A Dglgmut
Destructo Spin
Aesthetic
The Need For Repetition

Album Description

Incorporating all styles of metal and hardcore with moshy double bass and spacey, poignant rock, BETWEEN THE BURIED AND ME'S dizzying opuses are sure to redefine pre-existing notions of "metalcore". BETWEEN THE BURIED AND ME find a way to make heavy music refined yet powerful, inventive yet distinct, at times chaotic, then soothing. With a myriad of influences ranging from their hardcore and metal roots to artists like the Smashing Pumpkins and Dream Theater, "The Silent Circus" is a sincere, artistic album that will revolutionize the face of heavy music. After one extremely well received release on Lifeforce Records, the hype on BETWEEN THE BURIED AND ME is spreading like wildfire; their Victory debut is proving to be one of the most anticipated, indescribable and groundbreaking metal/hardcore records of 2003.

Customer Reviews:

we all know opeth is kinda silly... .......2007-05-09

and this band has very little to do with them. the similarities are very superficial. they both do heavy, they both do melodic. thaaaat's about it. (well not that opeth is "heavy") this album is honestly a lot more creative than anything by opeth. and incomparably heavier.

this is a damn good album.

also... nile, origin, and necrophagist all severely limit themselves. they have NOT done this.

k that's all. just felt i needed to balance out mr. grumpypuss.

Shatters Barriers Like None Other.......2007-02-01

Between the Buried and Me is the future of extreme music. Imagine taking Opeth, Cryptopsy, Converge and Lamb of God all into one. This band is amazing. With a progressive nature towards their metalcore sound, they are original. They're not a band that overuses melody or breakdowns, nope, they balance it out at the right level. Just listen to one track off this album and you will know what I'm talking about. Whether it is the chaotic-turned-to-a-ballad esque melody of "Mordecai", the "Lost Perfection" double tracks that begin this CD, or even the excellent intro guitar work on "Aesthetic", this disc will definitely leave an imprint in your mind. Recommended for the open minded.

Cashing in on the Opeth sound.......2007-01-31

Seriously, if there pro-PETA stance makes me want to gag enough, its there music. Sure, its "heAVY and Br000Tal P1T mUsIk" or whatever, but its been done, many, many times before, by far superior bands, such as Hate Eternal, Origin, Nile, Necrophagist, etc.

However, after all the crappy hardcore-riddled heavy parts are through, then comes the worst debauchery of music ever to be unleashed. Seriously, the soft parts are TERRIBLE; it sounds like a cross between Lifehouse and DC Talk.

Overall, its probally the least worst of the new Hardcore bands to ever have floated up from the toilet of horrible music, but its still disgustling bad, especially since they rip off one of the greatest bands ever; Opeth.

Avoid.

Pretty Awesome.......2006-12-26

This album is often heavy in the best possible way...but occassionaly meanders into schlock. "Ad A Dglgmut" is a good example of the sound of the album as a whole..it's one of the heaviest songs I have ever heard...until halfway through when it transforms into a song that Live would have recorded in 1996. Ugh.

Seriously, though...85% of this album is brutal, with awesome death-influenced vocals and insane musicianship, and will satisfy nearly any fan of death/progressive/extreme metal out there. Be warned, however...this album occassionally lapses into quesitonable territory. This questionable territory encompases feeble attempts at ambience with clean vocals and acoustic guitar. Three songs are examples of this: "Reaction" and "Shevanel Take 2" are BORING, as is the forementioned second half of "Ad A Dglgmut". It's not that clean vocals and quiet interludes are bad things...bands like Opeth have built a career out of getting loud/soft/loud dynamics right, and Between the Buried and Me themselves get it right (if only for a moment) on "Mordecai" off of this very album...

...it's just that the vocalist's voice just isn't strong enough when he's actually singing. It's thin and a bit whiney. In other words, annoying. The clean vocals often accent the relative weakness of the lyrics, too. Fortunately, the singer's death vocals are great, so most of the time you can't understand what he's singing anyway. Therefore, the lyrics are largely inconsequential most of the time.

Why the four-star review? 80% of this album is awesomely heavy...awesomely heavy enough for me to forgive the band for their pitiful attempts to try and be Opeth or Isis. Go forth and rock, but keep your finger on the "skip" button when the moments of peril arrive.

Maybe I am getting weak in my aging but...........2006-09-07

This album does not satisfy me at all. In fact the only parts that I find ejoyable are the calm breakdowns and the cool little cross genres that they sometimes throw into some of their songs. As for the avant garde metalcore Screamfest style they love to portray, I hate it. Maybe I don't like the constant blast beats that appear all too frequently. Actually, I hate the blast beats. I also cannot stand the constant screamin in an un-intelligible tone.
A while back, when I was younger, I would have loved this band and their avant garde metal compositions. Some call them technical metal. Sure, they are somewhat technical. But being "technical" does not make a band "good", or enjoyable.
I used to be a huge fan of Miles Davis 70's era style, which is some of the most avant garde music one can find. Now though, I care not for the avant garde and insane wanderings of Miles Davis 70's style and prefer his 60's and 50's era jazz much more enjoyable. Between the Buried and Me seems like the metal version of Miles Davis. Their compositions are all over the place, without much structure most of the time, adding in a few structured and calm parts here and there. And we are not talking Meshuggah un-structured, because Meshuggah is actually very structured, just not to the "normal melody" trained ear. Between the Buried and Me sound very un-organized, though I know they assemble their music like this on purpose. It's not a question of whether they have skill or not, its a question of whether what they make is enjoyable. And to me, "The Silent Circus" is not enjoyable by any means. The random-ness makes for a fun experience, but their "lets-pummel-the-listener-into-the-ground-with-how-intense-and-hard-we-can-rock" style just annoys me and gives me a headache. They show a lot of skill and talent with their lightening speed riff attacks, but the blast beats and the incessant screaming ruin the whole experience for me. I find their style to be grating and I get no gratification out of hearing their music. The only parts I really enjoy are the structured parts, which are few and far between.

Oh well, different strokes for different folks, as they say....

Average customer rating:

Album #3 and still going strong. Ladies and Gentlemen.......

Inside in the Electric Circus (Dig)
Wasp
Manufacturer: Snapper Classics UK
ProductGroup: Music
Binding: Audio CD

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Last Command (Dig)
W.A.S.P.
The Headless Children
Live...In the Raw
Still Not Black Enough

ASIN: B000086EOG
Release Date: 2003-08-12

Tracks:

The Big Welcome
Inside The Electric Circus
I Don't Need No Doctor
9.5. N.A.S.T.Y.
Restless Gypsy
Shoot From The Hip
I'm Alive
Easy Living
Sweet Cheetah
Mantronic
King Of Sodom And Gomorrah
The Rock Rolls On
Flesh And Fire (Bonus)
D.B. Blues (Bonus)

Album Description

Remastered reissue of the classic metal album, originally released in 1986, packaged in a Digipak. 14 tracks including two bonus tracks, 'Flesh & Fire' (7 inch B-side) & 'D.B. Blues' (12 inch B-side). 2003.

Customer Reviews:

Album #3 and still going strong. Ladies and Gentlemen..............2004-12-03

A lot of people thought W.A.S.P. was going soft with this album, but they were mistaken. One listen to 'Shoot from the Hip' was all you had to hear that Blackie was still on a rockin' rollin' rampage of sex, violence, and debauchery.

At the time this album was released, the PMRC was in it's full fury. Tipper Gore had targeted W.A.S.P. as one of the worst bands ever. Blackie had to bow a little and remove the periods in between the letters of "WASP" and this is the only album where this happens. With the next album "Live... in the Raw" the dots were back as drops of blood and have been there ever since. Also on this album Johny Rod from King Kobra came in to assume bass duty as Blackie went to the guitar for the first time on a W.A.S.P. album. Randy Piper, an original member, was now gone.

The opening is a bit corny, but you gotta realize that Blackie is the ringleader and afterall, someone needs to welcome you inside the madness, so it might as well be him.

The opening track is the title track and it's awesome. One of the best opening guitar riffs W.A.S.P. ever did. The song is full of energy, rampant, and exciting. The next tune, the cover of "I don't need no doctor" is simply awesome. '95 Nasty' should have been a hit, but it's still played live to this day.

Not everyone liked 'Mantronic', but I liked it. A bionic man with balls of steel is always a great idea for a tune. "King of Sodom and Gommarah", "Sweet Cheetah", and the closer "The Rock Rolls on" are also standouts.

This is a great album.

Average customer rating:

Where Du Yu Start...
No Husker Du Collection is complete without this....!!!!
Husker Du's first studio effort for SST....
Pretty good for an introduction
Irreplaceable, but uneven

Metal Circus
Hüsker Dü
Manufacturer: Sst Records
ProductGroup: Music
Binding: Audio CD

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Flip Your Wig
Eight Miles High/Makes No Sense At All [EP]
Land Speed Record
New Day Rising
Zen Arcade

ASIN: B000000LZI
Release Date: 1990-10-25

Tracks:

Real World
Deadly Skies
It's Not Funny Anymore
First Of The Last Calls
Lifeline
Diane
Out On A Limb

Amazon.com

This is the album on which the monster that was Hüsker Dü truly came alive. From here on out, this Minneapolis trio would define new directions and open new vistas for rock music with every release. Bob Mould's spectacularly demented lead work and furious vocal delivery are driven to a frenzied pace by drummer Grant Hart and bassist Greg Norton. At times, as on the incredible opener, "Real World," the naked aggression and speed is hard to withstand. "It's Not Funny Anymore" is a great anthem, striking a blow against conformity and hinting at the pop territory the band would go on to explore more fully on future outings. "Diane," with Hart on lead vocal, is a ballad of sorts--and probably one of the most horrifying in the history of rock. --Mike Corrigan

Customer Reviews:

Where Du Yu Start..........2007-04-22

First off Diane is such an incredible and sad song...and it is a true crime story-there was a Diane who was raped and killed.

The First of the Last Calls is a pop song wrapped in a wall of sound and will repeat in your head long after the EP is over.

It's Not Funny Anymore really shows Grant Hart in bloom with great licks by Bob Mould.

Real World is classic Mould and political while blasting the fantasy world others resort to....

Deadly Skies just flys off right where Real World leaves off...

Not the strongest but takes off again and is a nice change after First of the Last Calls...

Hard to listen to Out on a Limb after Diane because I so often replay Diane because it is such a great song...this definitely foretells Zen Arcade and has an almost Moroccan influence or other Middle Eastern sound on the guitar...

Overall a strong-fast EP-and a balance of Husker Du. You see Hart emerge as a songwriter but Mould is still in charge on this album. Norton's bass anchors the album-and the opening of Diane is some of his great bass work. Of the 3, Norton is the most underrated. Hart was and is one of the fastest drummers ever-a huge influence on Foo Fighters, Nirvana, Audioslave, etc. Neil Young is often called the Godfather of Grunge-frankly, and I am a huge Neil Young fan, Mould is truly the Godfather...that is not to say Mould isn't hugely influenced by Young-he is-and he used to do a killer cover of Cinnamon Girl in solo concert-but Mould shaped the 90's sound more than anyone else...

Shame Hart has not gotten the credit or made it as big as Mould-but I am a bigger Mould fan...

Anyway-get off your duff and listen to this tiny masterpiece...

No Husker Du Collection is complete without this....!!!!.......2005-06-07

Despite being one of the few American Post-Punk / American Hardcore bands that had a succession of critically acclaimed albums to their name, as well as being a massive influence on other artists...Hüsker Dü, were never quite lucky enough to turn that considerable talent and ability into mainstream acceptance. And thus, although highly regarded in music circles, only really ever remained something of a cult band, with a devoted fanbase.

This EP, which would take the form of 7 songs, that would predate the release of their subsequent LP "Zen Arcade", which is a collection of visceral, confrontational, hostile & highly literate songs, that although aggressive in vocal delivery, express a level of articulation and intelligence, beneath the abrasive exterior. First track "Real World" is a unrelentingly concise social commentary, encapsulating public anarchy's, insistence on 'self-imposing justice', and is a scathingly hostile look at activism, as a negative form of expression, with the line: "You want to change the world, By breaking rules and laws, People don't do things like that, In the real world at all......You're not a cop, or a politician, You're a person too.....You can sing any song you want, But you're still the same!!!", and the red-raw guitar work here, prove to be as equally confrontational as the lyrics (no mean feat). "Deadly Skies" also takes a similar important look at controversial subject matters, which in this case questions the ultimately pointless task of demonstrating against Nuclear war, and subjectively asking "I like to protest, but I'm not sure what it's for, I guess I've got no control over the threat of nuclear war, I made a sign to carry to show that I really care...I've heard it does some good if the television people are there??", and although most will argue the fact that it's sometimes more important to voice your opinions, than to not have one, it's the lyrical expression and articulate way with words, that hugely impress on both tracks. Both carefully balance pounding, buzzsaw guitar, slashing rhythms, insistent drums, and a uncompromising aggression that confirms their American-punk aesthetic, yet..which, are tempered by an almost journalist's level of an eye for fine detail, with sharp wit, that shatter the argument that loud, aggressive & cathartic music can't compete with the more conventional forms of intelligent singer/songwriter lyrics.

"It's Not Funny Anymore", pairs down the explosive instrumentation somewhat, and although still a relatively quick sounding track, it doesn't feel as reckless or Bleak as the previous tracks, and although sounding distinctly more melodic, is actually a scathing dismissal of their contemporaries, and is unflinching in it's disinterest, in what other bands are attempting, with the lines: "Play what you want to play, Hear what you want to hear, Don't worry about the result.....Or the effect is has on your career", shows a level of biting lyric articulation, that was completely at odds with the simplistic aggressive rhetoric of their peers. And although some may argue that it takes a certain sort of arrogance to create a song such as this, Hüsker Dü really were ahead of most of the pack.

"Diane" as has been probably been mentioned before, is not only the most powerful song on the EP, but arguably one of the most disturbing, emotionally sensitive and affecting songs the band have ever written. Based on the murder of a friend of the band...it tells the chilling tale of a first person perspective from the eyes of a killer, and the mood is one that reflects this disturbing subject matter. Guitars become far more restrained, drums now longer bang furiously, and the whole song takes on a far more ballad-oriented structure, with the chilling lines of: "Hey little girl, do you need a ride??.... Well, I've got room in my wagon why don't you hop inside, We could cruise down Robert Street all night long....But I think I'll just rape you, and kill you instead!!", sending chills down the spine. It's obviously a deeply personal song for the band, and all the more amazing that the band are able to be openly express what is an unforgivable crime. But when they finish the song, with the lyrics: "We could lay in the weeds for a little while, I'll put your clothes in a nice, neat little pile.....You're the cutest girl I've ever seen in my life, It's all over now, and with my knife!!!", I guarantee that, those words will stay with you, long after you've ejected the Cd from the Cd tray.

For those that are new to Hüsker Dü, I would strongly recommend firstly, doing what I did, and starting your collection, with their seminal 3 album run of "Zen Arcade", "Flip your Wig" & "New Day Rising". Only the criminally insane would argue against picking up those albums, and it's extremely likely that it'll fuel a desire to pick up more of their work. And this is where, I believe this EP is perfectly suited. An extension of the fiery songs that made up "Zen Arcade", before gradually shifting into a more melodic transition throughout their albums, and will perfectly compliment the rest of your Hüsker Dü albums. Those that are already fully acquainted with Hüsker Dü's work, should already be making their investigations regarding this tremendous EP. Sublime stuff!!!

Husker Du's first studio effort for SST...........2005-03-30

....resulted in this phenomenal EP. This is where the classic Husker Du was born. The production is tight, the instruments sound great, and the songs......the opening punch of Real World and Deadly Skies will leave you breathless, and they have really wry lyrics to boot. Grant Hart's sole contributions include the great It's Not Funny Anymore, and the haunting Diane, based on a true story about a girl they knew and her harrowing ordeal told through the eyes of the serial killer who killed her. The rest of the songs, while of lesser quality, are still very, very good. Great stuff on this album.

Pretty good for an introduction.......2004-07-19

I started reading the book "Our Band Could be Your Life" recently, in which Husker Du is but one of thirteen bands profiled in the survey of American indie rock. Intrigued by the author's insights on the band, and always a sucker for a cool band name, I decided to try a little H-D myself and picked up this EP at a local store.

First off, if you aren't ready for it, this EP can be a bit disconcerting at first. More into the doom-and-gloom of Joy Division or the warped but still musical punk of the Sex Pistols or Buzzcocks, I wasn't quite ready for the buzzsaw intensity of the first two tracks. "It's Not Funny Anymore", however, broke up the "headache hit parade" long enough for me to enjoy it throughly. The next four songs also went down easily enough, though I wasn't really sure I'd keep it.

Now, it's a few days later, and as I type this "First of The Last Calls" is wailing away in my head. I can't say I would've like H-D on only one listen, but now the EP has grown on me.

The reason I give it only three stars (apart from the fact that I do way too many "five-star" reviews in which I come off as a "I'll like anything!" kind of spaz) is that it's something that has to grow on you if you don't naturally go for the hardcore punk sound. Even Mission of Burma sounds tame compared to "Real World" (which should've been used as the theme for the god-awful TV show of the same name, he said wickedly), and I'm not so sure I could take more of the same everyday, all day. But in the context of Nirvana and the whole "grunge" movement (which I detested until it left the scene and no good has come of music since) it's fantastic.

So in other words, not my normal cup of tea, but I like it now that I've given it a chance. That's the most you can ask of anything you've never tried before. Will it lead to harder stuff? For me, perhaps no, but that's just an individual call there. Pick it up if you want something different from the pop muzak of today, and if you want to see where Nirvana got their sound.

Oh, and "Diane" is a nice cousin to "Excitable Boy" in the annuals of true-crime songwriting.

Irreplaceable, but uneven.......2004-04-28

Irreplaceable, but uneven

The first three songs are absolute punk rock classics, three daggers aimed at the heart of punk rock's favorite target: punk rock itself.

The first song - Real World - directly blasts the punk rock shibboleth of "Anarchy" - which along with the circle-A symbol was (is?) the virtual trademark of punk culture. In Real World, lead singer and guitarist Bob Mould does what almost no other punk musician ever did: he sings about what "anarchy" might actually mean. Not pretty, he concludes, and lashes into those that thoughtlessly "talk of anarchy" as some sort of social good.

The second song, Deadly Skies, takes aim at punk's reflexive protest culture - "I like to protest, but I'm not sure what it's for" and uses wilting sarcasm on the beliefs of thousands of punks who view protest as an end in itself, not a means to an end. "I made a sign to carry to show that I really care. I heard it does some good if the television people are there." Pretty funny.

The third song lashes into the most ironic of punk's faults - stifling conformity. Supposedly punk was a sub-culture of non-conformists, rebelling against the overly conformist mainstream. However, every former punk recognizes that punk imprinted on "punks" a fairly strict dress-code and proscribed vast swathes of cultural and musical expression. If you didn't follow the stylistic dictates closely, well then you were a "wannabee", "poseur" or "wanker", certainly not a "punk." We all played the role of fashion police, and we all used these derogatory words on other people. It was stupid and conformist, and Husker Du came to that realization early.

The last two songs aren't so great.

First of the Last Calls is a dull song about problem drinking. No new insights here.

Diane is a failure. Intended as a 1st person account of a man killing Diane, it's unconvincing, awkward, pretentious. Husker Du aren't Randy Newman or Tom Waits (or even Eminem) - they don't write songs that conjure up believable characters. That's not what they do. They try it in this song. It doesn't work. And the failure is all the more appalling giving the subject matter.

The other Amazon reviewers call this album a musical step forward. I guess. However, it's enduring value is the example it courageously set by sticking a finger in the eye of all us punk-rock Leninists who thought we knew it all.

Magic & Madness
Average customer rating:

"damn everything but the circus"

One of the best unknown bands

Awesome Chunking Guitars..... Can't Ask For Anything More

Magic & Madness
Circus of Power
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Vices

War Babies

Wake up Screaming

Rode Hard - Put Away Wet

Bite Down Hard

ASIN: B000008EBN
Release Date: 1993-02-23

Tracks:

Swamp Devil
Evil Woman
Heaven and Hell
Circles
Poison Girl
Shine
Dreams Tonight
Mama Tequila
Black Roses
Waitin' for the Wizard
Outta My Head
Slip Away

Customer Reviews:

"damn everything but the circus".......2006-05-31

forgot I even had this gem in the collection. you like it dirty, swampy and crunchy... this is it. all the songs are great, my fave is "Shine" with Astbury singing along. so grab a beer and toast the new day brothers and sisters... "I'm just a dollar away from dyin, If I could sell my tears I'd cry"

One of the best unknown bands.......2005-05-31

I first listened to this album in 1994 and was completely blown away by it. These guys are truly talented, and never gained a whole lot of popularity. "Heaven & Hell" is the best song on the album, and you can definitely spot the Jerry Cantrell influence.

Lots of great songs on this album. Get it if you like a combination of Motley Crue and Alice in Chains. Glad to see they're still producing it. For a while, they stopped! Get it while you can!

Awesome Chunking Guitars..... Can't Ask For Anything More.......2004-05-01

I just happened to stumble across this album in a record store and I usually have to know something about a band before I buy anything. But that day, I don't know what the hell I was thinkin' and picked it up.

From the moment I placed it in my CD player, I was just blown away by the third song, "Heaven and Hell". It's a song that just rocks you in a cool and weird way. I am not easily impressed, but this song is a stand out in my collection. I was equally surprised that this song was given a bit of collaboration by Jerry Cantrell of Alice in Chains Fame. Could be the reason why I like it so much.....